Massimo Vignelli is known for the adage, ‘If you can design one thing, you can design everything.’ From graphic design to residential interiors, from magazines, calendars and books to tableware, commerical packaging, and corporate identity programs, the internationally recognized aesthetics of Lella and Massimo Vignelli have not only lived up to his avowal but have also inspired generations of designers in the modernist tradition.
To introduce Massimo Vignelli to a Miami audience was therefore an indispensable opportunity; Luminaire consequently launched it’s Lecture Series with a brilliant presentation by Vignelli. Nearly 700 architects, designers, students, clients, design enthusiasts and members of the public were enlightened to a philosophy of design that can improve to all aspects of everyday life.
Basic geometric forms illuminate the simplicity in Vignelli designs, whether it is the balanced and functional Handkerchief Chair, a shell-molded, reinforced-plastic stacking chair on thin metal legs, or corporate identity programs for American Airlines and Ford Motor companies, as well as logos, signs and packaging for Bloomingdales, Barney’s and Saks Fifth Avenue. Indeed, it was Vignelli’s novel use of the Helvetica typeface that encouraged its widespread use in the United States.
The use of wood, plastic, stone and marble in Vignelli furnishings give the pieces a tranquil warmth and a beauty. It is no surprise that the designs have won numerous awards and have been exhibited internationally. At the inaugural presentation of Luminaire’s Lecture Series, the Miami audience felt elated to connect with the design legend and learn of the far-reaching impact of his and Lella’s work.
Thursday, January 1, 1987
